The Development of Muruku-Muruka-Vēlan and Ce-ce-cey-Ceyon in Cankam Literature

K.V. Ramakrishna Rao

Kaumara worship in India can be traced back to vedic
times based on Sanskrit literature and 3rd century BCE based on
Cankam literature. Scholars differ in the origin of the deity;
some trace it to the Indo-Iranian region (northwestern part of
India) and others to a Mediterranean origin.

Tamil scholars fervently argue that it belongs to
ancient Tamilakam, tracing it to the worship of Murukan. Though
Kumāra-Kārttikeya-Subrahmaņya worship was in popular in the North
in ancient times, it is still popular in the South. It is
believed that Muruku-Muruka-Vēlan and Ce-Ce Ey-Ceyon-Cevv&ēl
worship evolved separately. Indeed, in Tamilnadu it has become of
part and parcel of socio-religious activities on various
occasions. This study examines the possible development of
Muruku-Muruka-Vēlan or Ce-Ce Ey-Ceyon myth in Cankam literature and
its culmirration into the full-fledged worship as seen today.

The Nikaņṭu compilers have meticulously recorded
different names attributed to Kārttikeya-Murukan, thereby
exhibiting his characteristics. In Cankam literature, it has been
closely associated with the fire cult of the ancient Tamils,
transformed into naturalistic, theriomorphic, anthropomorphic,
fetishistic and symbolic modes of rites, rituals and worship.

Fire Cult

Fire has been an important factor occupying almost
all aspects of life, perhaps from birth to death of man and
even beyond. The various terms used for fire in Cankam
literature prove its full association and utilisation for sacred and
secular purposes. Tolkappiyam refers to fire worship. The
specific expressions used are Koṭinilai, Kantali and Valli
(Porul. Purattinai.86) to denote the existence of worship in
three forms: the cūr in the sky, fire on the earth and moon on
the waters. Not only the word tēvam but also the specific
expressions teral arun kaṭavuḷ (Akam.
396:1) = fiery-unique God, arum teral marapir kaṭavuḷ
(Akam. 372:1) = unique-fiery-traditional God,
teral aur marapin kaṭavuḷ (Akam. 13:3) =
fiery-unique-traditional God, Teral arum
kaṭavuḷ (Nat.189:3) = fiery-unique God etc., prove the fact.

In all these references, the God is invoked and
worshipped; and even an oath/vow is taken before Him (as a
witness). Circumambulating a fire by a couple is also part of
marriage ritual (Kali. 69:5). Fire forms part of
veriyāḷal (bacchanalian dance) as detailed in many places where the vēlan
takes active part and the Muruku/Murukan-affected young
girl/lover is treated (Akam. 22,98,138,382;
Muruku. 234; Nat. 47). Funeral practices are also mentioned
(Puram. 239:20-21; 231:1-3; 238:1-5; 246:11-12;
356, 363).

Mountains

The relation of fire with mountains may have been due to
the existence of volcanos in the past. D.N. Wadia has noted
that towards the close of the Cretaceous era, a large part of
the Indian peninsula was affected by a stupendous outburst of
volcanic energy, resulting in the buildup of thick layers of lava
and associated pyroclastic
materials.4

Turning to Tamil literature, the fire produced in the
mountains appears in the desert (Ingu. 338:3). The mountain is so
covered with the flowers of silkcotton trees (Ilavam) that it
appears as if it is surrounded with fire-creepers
(Ing. 358:1). The fire that originated through bamboo trees (by friction) spreads
to entire hillsides by the strong winds and the lengthy
creeper-like flames enter the gaps of caves and stones of hills,
thereby resulting in small explosions due to expansion
(Ing. 395:1-2). The darkness of the caves of the mountain is removed by
the glowing lance (Akam. 272:4-6). Lamps are lit on the top of
the hills (Akam.185:10-11; 265:2-3). Thus, kunram, varai,
malai etc. have always been associated with fire.

Coming to Murukan, the famous Arupaṭai Vīṭkaḷ or
six battle camps are situated only on the hills:
Tirupparankundram, Tirucīr Alaivai (Tiruchendur), Tiru Avinaŋkuṭi
(Palani), Tiruverakam (Swami Malai), Kunrutōratal (other hills
and hillocks) and Palmutircolai (Alakar Malai). The
association of Kārttikeya with caves and mountains may be noted:
bāla-griha = seizure of children as Skanda (according to
Mahabharata). Later Guha (Tamil: Kukan) was added to the lists of rudras
as per the text of Revali Kalpa.5

Trees

Fire and trees are closely associated in Tamil
literature. There are many references about the burning down of
trees, towns and granaries in army action (Puram.
6:22, 7:7-8, 16:17, 344:5, etc.) The practice of sowing millet after burning
down trees is also mentioned (Akam. 288:4-5,
368:1-2). Forest fires are also described (Akam.
103, Ing. 376:2, Padit, 25:6-7, 40:28-30).

During such processes and operations, some trees might
have escaped from the ravages of fire standing against it.
Such trees might have been considered sacred and divine, as
even fire could not have done anything. Then people might
have started revering the deities residing in those
trees. Imayavaramban Netunceralatan attacked his enemies in an
island surrounded by roaring ocean and cut down their divine
kaṭampu tree. This exploit was repeatedly compared with the defeat
of Cūr by Vēl (Padit. 88:5-7; 11:12-13; 20:3-4; a
murasu was made out of it 17:4-6). Vanni (cuma tree), kaṭampu, banyan and
other trees are considered divine. Murukan is also called as
Kaṭampan and Vannippukkaran.

Flowers

The intimate relationship between fire and lotus
was elaborately brought out by ancient Tamil poets
(Akam. 106:1, 191:2; Perum. 159; Perum. 289-90, etc.). The reddish colour,
the petals, their arrangement, resemblance with flames, origin
from waters and other details are emphasized. The kuvalai
(oleander), alari (Indian willow), venkai (Pterocarpus bilobus) and
kantal (Gloriosa superba) are frequently compared with
the characteristics of fire.

Cūr

Cūr is the goddess variously mentioned as born of
rains, residing on the hills or hill sides, in the springs,
forests, trees, etc. She was born of rains
(Akam.303:5-6). This can be compared with the Tevayānai myth. She has terrible and
fearful forms; capable of taking any form; affecting women and
children (compare with Jara, Jataharini and Ahoyi of Sanskrit
literature); and is just like fire. She likes kantal flowers and
therefore, even if bees approach them, they would be made powerless by
her (Padit. 67:19-20).

A lady-love shivers with fear about Cūr, as she
might affect her chastity (Kurun. 52:1-2). Tasty rice with curry
is offered to Cūr after a sacrifice (Natri.
367:1-4). A hero takes a vow invoking cūrara makaḷ in grasping the arms of his
lady-love (Kuru. 53:1, 6-7). This is similar to taking vows
before Teral arum kaṭavuḷ and fire. Thus, the myth of fire and
cūr overlaps, leading to the creation of Muruka with the
importation of another cūr as shown below.

There is, of course, another cūr mentioned
denoting Cūrapatuman, defeated by Murukan. Cūr was killed by
Cey (Puram. 23:4). Cūr was killed by Cey
(Puram.23:4). Cevvēl cuts down the mango tree of Cūr to the roots. Though the
commentators imply the killer to be Murukan, the expressions used are
Cey or Cevvēl (reddish Vēl), fiery Vēl,
neṭuvēl (long lance), one has the v&ēl, and so on.

Narrinai perhaps gives a clue to differentiate
between the two cūrs as noted above: the goddess (anaŋku) who
produces the waterfalls resides in the hills; terrifying and
fearful caves are there in such hills; like a lightning, the
glowing lance shows the way in such caves driving darkness away with
its light. This shows the gradual development of the Murukan
myth by transforming Cey, the Red One, into Murukan and Cūr
into Cūrapatuman. The subjugation of Cūr is further shown
as follows: the spring with divinity falls from the hills;
the cūr women dance according to the tune of natural music
produced by the waterfalls and adorn themselves with the garlands
of kuvalai and kantal (Nat. 34:1-6).

Anaŋku

There is another goddess Anaŋku mentioned repeatedly
with the same characteristics as that of Cūr. She resembles
fire more than Cūr (the characteristics are affecting and
inflicting, like God in the sky, resides in the hills, on the top of
the hills, like a disease, of waters, with bewitching beauty,
fear, of great strength, of trees. Besides her natural dwelling
places, she has temples (Puram. 247:4) and idol-forms
(Akam. 159:5-6). This proves that she attained the status of goddess with
full-fledged worship. She is compared with fire: 'Just like the
fire produced by drilling in the wood is used to burn the other
wood, the lady has become an anaŋku for her own town' (as it would
be burned down by the king, whom she has refused to marry.
Puram. 349:6-7).

In fact, it may be mentioned that V.S. Agrawala notes
three stages in the development of myth in Sanskrit
literature:6

Originally, Skanda was reckoned as one of the
pisacha host. In the first stage of evolution, Skanda was
assimilated to the cult of Rudra;

in the second stage to that of Agni; and

in the third stage to that of Indra.

As a result of the last assimilation, he was made
the husband (commander) of Devasenā i.e, the daughter
(divine army) of Indra.

Taking clue from Tōlkappiyam, some commentators
while interpreting Mayon, the Black One as Tirumaḷ (Vişņu),
started alluding that Ceyon, the Red One, was Murukan. Initially,
Cey or Ceyon must have been a fire-god and then was transformed
into Murukan. This transformation can be found in Tirumurukārruppaṭai itself, besides Paripātal, which
belongs to later Cankam period.

The former starts with a specific reference to sun
worship (Muruku.1-2) and goes on to praise Ceyon: the long fiery
Vēl (lance) that killed Cūr (46); Ce Ey with reddish lance
Cevvēl (61); from the first face, many rays spread like fire or
sun (92); His body is red, he wears red dress with reddish
flowers in the ears (206-7); He has ram and peacock as vahanas
(210); he is nursed by six women, implying six Krittikā women
(255); He is the Son of God who resides under a mystic banyan tree
(256); Son of the Goddess of the mountain (257); Son of
Korravai (258); Child of Palaiyol, the ancient goddess
(259); killer of the mountain Krauñca (266); the Red One Ce Ey
(271) and killer of Cūr (275).

In Paripātal, references to Murukan are direct: he is
born of fire (5:30-35); Analan (Agni) gives him an elephant
(5:57-58), whereas Ganaman (Yama) gives him a ram
(61-62). Later, other known details are given faithfully. From the above it
can be noticed that, in his metamorphosis from fire-god to
Murukan, Ceyon is made to have these characteristics by having
reddish dress (another name for Agni in Tamil), riding a ram, and so
on. In the case of anaŋku, it is directly said that 'Murukan
is anaŋku' and, thus, straightaway taking over anaŋku by
Ceyon or Murukan (Akam. 98:10: murukan anaŋku
ena), whereas Cūr has been subjugated as explained above.

Krittikā stars

Though the name kārttikai as such is not found in
the literature, it is implied through the specific terms
arumīn (six stars), eri (fire),
alaḷ (flame), araḷ (fire) and aḷ (fire). Moreover, Arundhati is excluded from the 'seven
women', as when the wife of Agni, Swāhā, tried to assume the form
of the wives of the Saptarişis, she could not succeed in the
case of Salini i.e, Arundhati (Pari. 5:44). In Paṭirruppattu
(Paṭit. 65:9), she is specifically mentioned as
kamara kaṭavuḷ i.e, the Goddess who frightens kāmam (lust). Salini has
another meaning also, i.e. she is considered as a chaste woman
accompanying women who are pregnant for the first time, going to the
temples (Madurai. 603-610). In contrast, Kārttikeya-Murukan is
known as kumarak kaṭavuḷ, the handsome young god.

Veriyāṭal in Kalam

The worship of Cey, Ce Ey or Ceyon and Muruku or
Neṭuvēl is always associated and accompanied with the following:

Koṭi: a flag is tied in the kaṭampa tree
or hoisted on the pillar (Akam. 382:3; Muruku. 237);

Dress: two clothes are worn
(Muruku. 230);

Garland: garland of buds is adorned
(Akam. 22 & 382);

Music: various musical instruments are
played producing a din (Akam. 98:14);

Songs: sung about Neṭuvēl;

Sacrifice: a goat is sacrificed and its blood
is mixed with flour etc. (Akam. 22:10; blood is sprinkled and
so also turmeric mixed with water (Muruku. 234);

Fire: fire is raised near the altar
(Akam. 138:16-18);

Time: the
veri/veriyāṭal starts by or around midnight and continues until dawn (ibid.);

Vēlan: the priest, who performs the
veri/veriyāṭal;

Oracle: the changing of colour of the edible
root (Nat. 47:8);

Veri: the disease supposedly caused by
anaŋku, cūr or Muruku as predicted by the vēlan to the mother of
the affected girl; and

Veriyāṭal: thus, the dance is performed with
all fanfare.

Actually, in the references about
veriyāṭal, the girl ridicules the performance of
Veriyāṭal and the hypocricy of the vēlan, as she knows her position very well. In fact,
the lover is visiting her stealthily as usual, at that time,
when veriyāṭal takes place. Therefore, it is understood that
the women, who are supposed to have been affected or infected
by cūr, anaŋku, Muruku or Neṭuvēl are pregnant in many cases.

Neṭuvēl and Neṭiyon

Murukan is compared with a minor king
neṭuvēl (Akam. 1:3). Another king Neṭiyon is also frequently mentioned
(Puram). Though later Neṭiyon was used to imply Tirumaḷ or
Vişņu, here it is used to imply only
Murukan.7 Neṭuvēl deserves to be worshipped
(Akam. 22:6). He stands tall on his hill (Pari.
19:84). Neṭuvēl has the cock flag (Muruku. 210). Neṭuvēl
is the king of the Kaṭampar, a tribe (Perumpan.
75). A friend of his lady-love asks whether the disease would give any bad
name to Neṭuvēl (Natri. 173:9).

Thus, Neṭuvēl appeared to have all the characterstics
of Muruku. Therefore, it is possible that Neṭuvēl or
Neṭiyōn might have been so popular among the poets that, at one
stage, he was compared with Muruku or converted into Murukun with
all his characteristics. The name Muruku as such implies
Murukan (Natri. 34:11 muruku means beauty), the mother of a
lady-love worships Muruku (Natri. 47:10 Muruku is worshipped by women)
and the strength of an elephant is compared with Muruku
(Natri. 225:1 Elephant is his vahana in Paripātal). Thus, the
Muruku-Neṭuv&ēl-Neṭiyon characterstics are merged together
in Murukun.

Women

Women worship Murukan-Kārttikeya to obtain
beautiful husbands, beget children, long life of husband, welfare of
the family and so on. However it may be mentioned that
in Mahārās×tra, women are afraid to visit Kumāra temples
as they might get affected by Him. Interestingly, in
Purananuru (279:6-7), there is a reference about the practice of not
touching of vessels of Murukan temples by virgin/pregnant women.

Scholars have not given any explanation for this
strange reference. But by comparison with the Skanda myth of
Sanskrit literature, it can be explained that women might not visit
the Murukan-Kārttikeya temples in view of the traditional
belief that he might make them pregnant, if they are virgins or
their foetus would be taken away by Him, if they are pregnant.
In Bengal, public women used to worship Kārttikeya and they
would sleep in His temple once in a year as a mark of propitiation.

Thus, the veriyātal can also be considered as a
puberty rite, where initiation into adult status is declared to
others with tribal lore, dance and ceremonies. Or the pregnant
women are protected against the force affecting the pregnancy
through such ritual.

Inference

Traditionally, the direction and angle of fire (Agni) is
the southeast. Therefore, the presence of fire-cult in that area
of India is not exaggerated. Geologically, the southern part
of India is older than the North. The fire cult must have been
the oldest of any civilization and thus, from it the evolution
of the myth of Murukan-Kārttikeya is understandable as
explained above.

Now, the different modes of worship are considered:

NaturalisticFire is worshipped as such connecting it with the sun,
moon, stars, other planets like Mars, mountains, waters etc.

AnthropomorphicCe, Ce Ey, Ceyon, Śiva, etc. are the masculine forms.
Cūr, Anaŋku, Kollippavai, Arundhati, Salini, Pattini,
Korravai, Kadukhilal, Palaiyol, Ayirai are the feminine forms. The personification of fire led to ultimate
deification. Recognising the natural phenomenon, such process must have
been in turn divided into masculine and feminine forms. In
the course of time, the combination and permutation of maculine
and feminine natures lead to further manipulation and
unification of gods and goddesses depending upon the nature,
geographic location of the place, availability of natural resources and
so on.

The change and interchange of anthropomorphic
worship is noted in the case of fire-god to Ce, Cey, Ce Ey or
Seyon; Anaŋku or Cūr to Ceyon; Ceyon as the Son of the combination
of the God residing under the banyan tree and goddess Korravai.

The above evidences show that Anaŋku, Cūr and
Cey were synthesized and reconciled with Muruku-Murukan-Kārttikeya.